41.
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Sign Systems Studies:
Volume >
33 >
Issue: 1
Kalevi Kull
Семиосфера и двоякая экология:
парадоксы коммуникации. Резюме
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42.
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Sign Systems Studies:
Volume >
33 >
Issue: 1
Stephen Jarosek
Семиотика сексуальности:
выбор становится привычкой, желанием, потребностью. Резюме
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43.
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Sign Systems Studies:
Volume >
33 >
Issue: 1
Marcel Danesi
Последовательность чисел Фибоначчи и сущность математи-ческого открытия. Резюме
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44.
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Sign Systems Studies:
Volume >
33 >
Issue: 1
Juri Lotman
О семиосфере. Резюме
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45.
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Sign Systems Studies:
Volume >
33 >
Issue: 2
Alexander V. Kozin
Переход с ангелом. Резюмe
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46.
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Sign Systems Studies:
Volume >
33 >
Issue: 2
Олег Борисович Заславский
Маленький человек в неевклидовом мире:
о художественном пространстве в фильме и пьесе Т. Стоппарда “Розенкранц и Гильденстерн мертвы”
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Oleg B. Zaslavskii. The little in a non-Euclidean world: On the artistic space in Tom Stoppard's film and play “Rosencrantz and Guildenstern are dead”. It is shown that quite different aspects of Tom Stoppard’s work — spatial organization, relationship between reality and the conditional character of events, causality and narrative links, the problems of choice and personality — are united by the spatial one-sided model like the Möbius strip or Klein bottle. The artistic space turns out to be not orientable, the time being cyclic. This enables us to explain the mutual exchange of names between Rosencrantz and Guildenstern and a number of other paradoxical features in the plot and composition. The model like the Möbius strip embodies the absence of a free choice: there is no other side in the world and there is no chance to escape from the fate indicated in the title of Tom Stoppard’s work. The relevance of topology, e.g. the property of a globalnature, is connected with the fact that a bearer of danger is the world as a whole. Apart from this, it points to the fact that such a structure of the world is essentially “non-Euclidean” and cannot be understood on the basis of observations from every-day life or “obvious” experiments like those carried out by Rosencrantz.
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47.
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Sign Systems Studies:
Volume >
33 >
Issue: 2
Luule Epner
О переформулировании национального идентитета с помощью игры с классиками. Резюмe
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48.
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Sign Systems Studies:
Volume >
33 >
Issue: 2
Ester Võsu,
Alo Joosepson
Репрезентация темы национальной самоидентификации в современном эстонском кино и театре. Резюмe
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49.
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Sign Systems Studies:
Volume >
33 >
Issue: 2
Leonid Tchertov
Пространственный семиозис и время. Резюмe
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50.
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Sign Systems Studies:
Volume >
33 >
Issue: 2
Janelle Reinelt
Национальные знаки:
эстонский идентитет и театр. Резюмe
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51.
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Sign Systems Studies:
Volume >
33 >
Issue: 2
Anneli Saro
Театр фон Краля переигрывает эстонское культурное наследие. Резюмe
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52.
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Sign Systems Studies:
Volume >
33 >
Issue: 2
Dinda L. Gorlée
Подсказки и догадки:
правовые формы семио-логической аргументации. Резюмe
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53.
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Sign Systems Studies:
Volume >
34 >
Issue: 1
Jaan Valsiner
Семиотическое образование одиночества:
процессы интернализации и экстернализации. Резюме
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54.
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Sign Systems Studies:
Volume >
34 >
Issue: 1
Andrew Stables
От семиозиса к социальной политике:
непроторенный путь. Резюме
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55.
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Sign Systems Studies:
Volume >
34 >
Issue: 1
Andres Luure
Дуальность понимания и понимание дуальности в семиотике. Резюме
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56.
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Sign Systems Studies:
Volume >
34 >
Issue: 1
Sungdo Kim
Семиотика природных катастроф:
теоретическое обрамление. Резюме
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57.
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Sign Systems Studies:
Volume >
34 >
Issue: 1
Han-liang Chang
Семиотика бедствия — альтернатива “глобальной семиотике”? Резюме
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58.
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Sign Systems Studies:
Volume >
34 >
Issue: 1
Олег Борисович Заславский
Структурные парадоксы русской литературы и поэтика псевдооборванного текста
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Oleg B. Zaslavskii. Structural paradoxes of Russian literature and poetics of pseudobroken text. Traditionally, the Pushkin’s work “My provodili vecher na dache…” is considered to be uncompleted. However, on the basis of structural arguments, we show that, in fact, it is completed as an artistic whole. Taking also into account the results of previous analysis of works by Pushkin, Lermontov and Gogol’, we introduce a new notion of “pseudobroken texts”. Their distinctive feature consists in the structural correspondence between the break of a plot and a break as the theme of the text — such, that it is the break of a text which confirms that the text is finished. From the general viewpoint, such a paradoxical phenomenon can be viewed as modeling the impossibility to destroy art and culture.
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59.
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Sign Systems Studies:
Volume >
34 >
Issue: 1
Louis Armand
Из материальности в систему. Резюме
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60.
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Sign Systems Studies:
Volume >
34 >
Issue: 1
Irene Machado
Столкновение или взрыв? Технологическая культура и баллистическая метафора. Резюме
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